J #Saris_A2Z

#Saris_A2Z as I share the most favorite of my sari collection, my wedding sari, my jamavar...

Together let's explore the land of 'J' saris. As I possess only a jamavar, I did my notes only on this type of sari. Request you lovely ladies if anyone has a jangla please share about the same..

Gyan time~

The intricate paisley motifs and designs on a Jamawar sari give it a rich and distinctive look. 

Traveling from Persia to Kashmir, Jamawar fabric reached the Indian sub continent around five centuries ago. Historically, Jamavars were handwoven, and it used to take years and sometimes even a decade to finish weaving a single shawl. The art of weaving A jamavar was painstaking and intricate one. Several kannis or little wooden shuttles of different colors were used for a single weft line of the fabric. Upto 50 colors could be worked into one the most popular colors being zard, sufed, mushki, ferozi, ingari, uda, gulnar and kirmiz. Months of hard work went into the preparation for each Jamawar, with not more than an inch being added per day in a 48-inch width of material.

With the invention of Jacquard loom in the late 18th century, Jamavar became more affordable. The early 19th century saw major innovations in  Jamawar weaving. Skilled embroidery work and flawless weaves accentuated the Jamawar fabric.  Jamavars were crafted out of pure silk and were exclusively worn by the royal and aristocrat class. Fortunately, with advanced technology and faster looms Jamavars are accessible to all nowadays. 

Each Jamawar sari is a shimmering weave of intricate designs, where the palette spans from traditional rich shades to delicate pastels. Each Sari takes a minimum of three months to finish.

Lying in the heart of Singapore is this 1928 building, we chose as the backdrop..

I #Saris_A2Z

Make this Monday magical via #Saris_A2Z as we speak about the 'I' saris..

The sari in this photoshoot is my mom's sari, which she bought for my shaadi. Loved the feel of it so much keep it as a loving memory. It still smells of her🌹

Now for some wiki gyan on ikats....

"Ikat patterning is done by first dying the threads according to the pattern layout. As the sari is woven the pattern emerges. It's never quite millimeter in sync giving it the delightful jaggy look that bestows ikat work some of it's charm, as does it's bold geometric ornament

ikats are exceptionally well executed examples of handicraft. Ikat's uniqueness lies in the transfer of intricate design and colouring onto warp and weft threads first and then weave them together. The fabric is cotton, silk and sico - a mix of exquisite silk and cotton. the colours are from natural sources.  Among all the age-old weaves that are being subject to a revival, Ikat saris are making a major come-back all flaunting them with much oomph and elan."

Bold and luxurious are the words that would strike one’s mind on seeing the kaleidoscopic Ikat's. One of the oldest weaving styles in the world, Ikat weaves are outstanding in their appeal and beauty. Lately, this unique weaving pattern is undergoing a renaissance of sorts. Needless to say, it is always interesting to have something funky in your wardrobe and exotic in your home, and Ikat print allows you to enjoy both the elements in one weave. 

The ikat  print in the olden days was a symbol of elite class. The intricacies involved in the making of ikat print were so minute that people of the bygone era believed that the ikat weave possessed magical powers.  Ikat woven fabrics were considered a symbol of status and wealth and so were traded as currency along the Silk Route in the 19th century. 

"Double ikat weaving is mainly done in Gujrat and is considered as one of the most exquisite examples of craftsmanship. It usually takes 6 months to 1 year to complete one sari and the lavish price range of this sari begins from Rs. 50, 000 and goes up to 7-8 lacs effortlessly. As these saris are becoming rare, do get yours before it's too late!"

Deepali shares for letter 'I'..

Deepali thanks so much for this piece of information!

Ilkal saree hails from the Bagalkot district of Karnataka. The uniqueness of the sari stems from weaving the warp in cotton and those in the pallav and the border area in art silk or pure silk. This means that the warp of each and every sari has to be prepared specially. The warp threads of the body and warp threads of the pallav and borders are linked together by loops locally addressed as “Topa Teni” Technique. The length of the pallav varies between 17 to 27 inches. These saris are produced in three different lengths 6, 8 and 9 meters. Reds, Maroons, and bright colors dominate the Ikkal Saris. These saris were initially used as daily wear saris by the women in Bellary making them glow in the sun while working in the fields. The body of these saris generally has checks, stripes or rectangles and the pallavs has length wise color bands known locally as “Paras” or “Gaadi” running across them."

K #Saris_A2Z

#Saris_A2Z brings you one more Sunday special, to make your Valentine's Day sizzling n scintillating. Before you read further grab your garam garam chai ki pyali☕️, curl your feet up on your favorite couch🛋

ab Dil thaam ke पढ़िएगा~

Maestro Amrita spins yet another web with her finesse and churns out 

Kantha's Katha...

"Munmun stared out of her spacious balcony on the thirtieth floor of her plush new apartment in New Alipore. It was a July morning. The monsoon clouds hung low. One moment, they held hands as if  to jump down below; next moment they parted,  letting the sun peep out . Munmun loved the hide and seek of monsoon clouds. It made her so joyful. Eighteen years ago, when she had told her mom, she wanted to take a break for an year  after graduating from M.I.T to follow her calling, it wasn't well appreciated. She was twenty two at that time and it was rational to think her degree should quickly begin  a great corporate career.  Her hardworking parents had arrived in USA, when she was just an year old. Her father, was a well admired professor in Massachusetts Institute of Technology. He had spent his life working on theories and applications that pushed frontiers in science and technology. And her mom was diligent in keeping her family of four, healthy and happy. She was also fiercely house proud, with the ability to turn every mundane corner of their house into regalia. Munmun had left all that comfort of their suburban Boston home in Cambridgeport to find her calling in India.

Arriving at Kolkata, she expected  the welcome would be as warm as when she arrived every year during her summer break with her parents. Today her Nani, though undoubtedly happy to see her only granddaughter was somewhat guarded in expressing it. Munmun knew at once that her parents would have sounded nani out. Nani would have been given a mandate to convince to return. After all, no one else could 'nag with love' and convince. But Munmun was restless with unknown dreams . She wanted to hear her inner voice far away from her daily grind in Boston.Munmun crushed Nani in a tight bear hug even as Nani struggled to parrot her parents' terse lines . Soon, Nani being the simple soul that she was , was basking in Munmun's happiness. They babbled away merrily  in the car and before long had reached home. 

Nani's home was brimming over with aromas from the most delicious food that Munmun had ever tasted anywhere in the world. She ran to the kitchen, her favorite place at nani's.  Laxmi, the cook of several years, was diligently rustling up her magic. It was unheard of Laxmi ever offering a meal that wasn't at least five course. Intoxicated thus by the aromas, Mumun's eyes suddenly fell to the floor. There was a tiny infant , fast asleep, on a bright colored cloth. It Laxmi's newborn. " Aww, Laxmididi, you shouldn't have got your baby to the kitchen. And why on the floor? Won't she... "...

" Naa", said Laxmi without letting Munmun complete the sentence, " she is fine. "Sleeping peacefully on the kantha near me. " Munmun peered at the " kantha", the baby's hand stitched ' mattress' . It was several layers of cloth that Laxmi would have garnered over time, stitched together. It had been done with great  finesse anfpd looked very arty. She gazed at the kantha and the baby for a long time, till a loud ring on her phone broke her trance. It was her dad's guttural voice, ostensibly enquiring about her long flight from Boston. Soon she found him irked and she had feared that was coming.  "For years, you were sent to the best schools. Special attention was given to hone your maths and science skills. It culminated in your graduating in Electronics engineering from the hallowed MIT. Was all that a burlesque of our concerted efforts? A deafening pause..

" Do you have anything in your mind? Or is your long break only an escape from the challenges of a promising career"? The call ended as abruptly as it had arrived. Munmun knew it was impossible to convince her very rational dad with any of her rationale. But she found herself pondering on his words. Really! She didn't have a specific idea to spend her break year on. She was staring blankly when her gaze again fell on the baby and the kantha. Both looked so perfectly at peace. Where would she find hers?

Since that day, eighteen years ago, Munmun reminisced , as a refreshing  drizzle brought her back to the present,  her love affair with the kantha stitch had begun. She didn't know it was meant for a lifetime. She had nagged Laxmi to show all the kanthas of her baby. Each so simply done, yet each a piece of art. Next, she decided to go with Laxmi to her village and saw how widely kanthas were stitched for every day use. She was completely smitten by this simple art of the village folk to create pieces of sheer joy. She then, bought pieces of cloth herself, colorful ones, demure ones  and gave it to the women in Laxmi's village to stitch. Soon she found herself give them the new and bold designs too. And lo, how well they brought it out on cloth. She paid them well , ensuring her new found joy trickled down to all . When her mom came after 6 months to take her back, she was pleasantly surprised to see the kantha pieces Munmun had garnered painstakingly. She had not even known that her young daughter was so artistic, though she herself had sent Munmun for painting classes on the side and seen some inclination. But years of academic pressure had buried it all, so she thought. And now she was speechless at what lay before. There was never again a discussion of wrapping up her stay in Kolkata. All that they talked at home was how to showcase her kantha work. Infact, nani asked her if she could get this beautiful craft, powered by her imaginative designs and color combinations on saris. Stitch a new magic on saris. How would it be? Munmun leapt at the idea, overjoyed. And thus, Moon's Kantha Saris was born. The first exhibition was held in Boston. Then another in DC, followed by one in New Jersey. In a few years time, there was demand from San Francisco. And Munmun hadn't realized the passage of time. Her brand, Moon's Kantha's Saris  was now awaited by super markets as acclaimed by few eminent design houses in Italy, France and USA. She ensured, year after year that the quality of fabric and alluring designs went hand in hand in every piece. That was her mantra. She had a proud band of loyal customers. They were her evangelists spreading her art all over the globe. 

Someone, called her gently, " Ma'am, a call from Milan. They want our kantha saris for their spring fashion show, where they are showcasing Indian drapes this year. What do I say?" It was Laxmi's daughter, now an an aspiring fashion technologist and apprenticing with Moon's Saris............................Did she ever imagine her Kantha saris would go so far...........Somewhere, behind, a  FM radio was playing 'Ganga aye kahaan se, Ganga jaye kahaan re.......................

Laharaye pani mein jaise dhup chhaon re...................."..

Was it an ode to her Kantha drapes?"

👏👏👏👏👏👏👏👏👏👏👏👏

#iluvsaris @demuredrapes

G #Saris_A2Z

#Saris_A2Z an alphabetical assortment of information of various types of saris. Hope you are enjoying this segment as much. Make this a wonderful wednesday, share all pictures and any information of saris starting with letter 'g'.

Amrita writes

"My story........

Sovabazaar's royalty: 

Garad

It was always a joyfully hectic five days for Indra Mukherjee during the Durga pujas in his ancestral home in Sovabazaar, Kolkata. The festivities were done in a grand scale, without missing any nuance that had been followed meticulously for the last sixty years since Indra's grandfather had brought the Goddess home.

Indra had held senior corporate  level jobs in New York, Sydney  and Singapore. And had lived most of his adult life outside of his hometown. His only elder sister, fondly called Didimoni by one and all, had always spent several months , year after year with her children who had migrated to Australia. Now both septuagenarian siblings lived in Kolkata, whereas their children had opted to stay abroad. But whenever the love of their grandchildren tugged at their heart strings they would go away for months to be with them. However, they never left Kolkata during  the Durga pujas, ensuring that the entire extended families too  came at that time. 

Everything from cleaning and polishing the brass stand with 108 lamps and Devi's  antique brass bhog prasad utensils to lighting , flowers, including sourcing 108 fresh lotuses for Sandhi puja, getting the family's favorite incense , Mother's saris, arranging the traditional ornaments, the multi course food on each of the five days, with an ensemble of mouth watering sweets,  to spicy mutton curry with luchi( puris of Bengal) on Navami, et al were planned by the septuagenarian siblings well before their children and grandchildren arrived. 

But there was something that Didimoni was most passionate about. It was planning the choice of saris worn by the all the women in the extended family. Shasthi, Saptami could be devoted to a flaming orange or neon yellow. Or she would dedicate an Ashtami , Nabami to the regal Dhakai Jamdani, Baluchari, Kantha or myriad other lovely genres. Decades had passed and her enthusiasm had not waned even the slightest on the 'saris orchestra'. And the family thus had an awesomely beautiful puja album over the many years that could do justice to the photo galleries  of London and Paris. 

Didimoni's piece de resistance  was the Garads of Dashami. These pieces of sheer art on  off white , with bright red borders, pallus and fine red motifs all over,  would bring out a grandeur which even the feisty fuschia  could concede. The women each looking mesmerizing, would smear sindoor on Ma's feet and forehead , before they sprayed each other with it bringing gaiety even as Ma was going away for another year.  The Garad's regal demeanor ensured that the poignance on the day of farewell was replaced by devoted colorfulness."

"The quintessential Bengali sari, Garad or Gorod dates to a long time back and can be rightfully called the most  traditional of all  saris from Bengal . Garad distinguishes itself by a rich red border on a white or off-white body in silk. The body is purity expressed in off white silk  and often with fine motifs spread across the plush base. Garad has traditionally been a puja sari. The devout in Bengal can't wrap herself deep in devotion without being draped by the Garad...

Awesome Ananya shares this picture collage and adds..

"The timeless "Garod" and I are inseparable. Mine was passed on to me by my mother and I hold it sacred. I drape the Garod twice a year. It is of utmost significance during the Shondhi Pujo on Oshtomi Durga Pujo and then again I wear it for my own annual Saraswati Pujo that I perform at home. There is never an alternative for a Garod. It's not a style statement; it's a tradition and mirrors a culture."

continuing with letter 'G' Today we talk about saris that can be folded to the size of a match box. 

When the weavers began weaving the ancient craft of Gadwal saris, the designs and colours were adapted from the temples and nature. The weaving technique used to design the Gadwal saris is the interwoven weft technique which was traditionally known as Kupadam and the weaving style for the borders was known as kumbam. Gadwal Saris are from Andhra Pradesh. The striking feature of this sari is that, while the body is made from cotton, the borders and the pallu are made from silk. There is complicated joinery involved and this gives the silk/cotton mix sari its charm. Attaching the silk border and pallav to the cotton body is called doing the 'kechchu'. This is most difficult to do and is also what sets the Gadwal sari apart from other saris. The body of the sari is woven from unbleached cotton yarn and contains patterns made using colored cotton or silk thread. The embroidery is done using threads coated with gold or copper. Traditional motifs are used in the sari. These saris have different types of borders - Small border, medium border, heavy border. But the weight of the sari doesn’t vary. A Gadwal Sari is of 80 counts cotton for warp and weft in the body, and 20/22 D filature silk is used in the border and pallou. KUTTU at the border for any gadwal sari, is one feature that helps recognize it and also a gadwal whether Cotton or Silk, always has a Silk border. 

Special thanks to Seetha for lending us her new Gadwal for the photoshoot..

#Saris_A2Z for all of you who have been gushing over the Gara in the cover picture, here goes. 

Undoubtedly the most exquisite of the saris, a Gara is made even more exclusive by the fact that without a trace of Zari, this is one of the most 'dressy and classy' sari.

Gara is a kind of embroidery, originally done on saris and primarily comprising the khakha stitch (also called the Forbidden knot), the French knot and long- and short-stitches. The work is extremely precise and fine with the stitches done very close to each other. Common gara motifs include birds, peonies, roses, lilies, pagodas and dragons.

Earlier, dark-coloured Chinese silk fabrics, especially in the purple-to-violet belt, typically formed the tapestry while the embroidery was in shades of cream. These days, the gara is often machine-embroidered on lighter fabrics, such as georgettes. 

The gara had its heyday in the late 19th and early 20th century by which time, under Parsi patronage, it came to be recognised as the 'Parsi sari'. 

The story of the gara is one punctuated by as many influences as the motifs it showcases. It is also largely because of these influences that the gara now belongs to a class of vintage that is so rare to come by that women from one generation pass their saris on to the next.

E #Sari_A2Z

#Saris_A2Z a sari type I so wanted to share when we did the letter 'e' Eri saris, unfortunately could not find an Eri. But kisi ne theek hi kaha hai Dil se kuch maango to mil hi jata hai! Sujata the savior, possesses just the sari! She so graciously agreed to do this shoot for @demuredrapes! 

So here goes...

"Eri silk is found majorly in Assam, north eastern India. It is also known as Errandi or Endi silk. This is the only tamed silk produced in India without killing the silkworm, thus, naming it as Ahimsa silk or fabric of peace. It is one of the finest and purest form of silk which is produced by Samia cynthia ricini worm. It is said to be father of all textured and cultured forms of silk. Eri silk needs delicate care and preservation as they are the most textured silk having shorter fibers. These short fibers make it less durable and the extracted silk is dull yellow or gold like gleam. Eri silk is sigil of sophistication with a touch of royalty which goes perfect for any occasion or festival."

#iluvsaris @DemureDrapes

Deepali shares this information about kasuti embroidery. Deepali thanks so much.

"Kasuti is a traditional form of folk embroidery practiced in the state of Karnataka. Kasuti work which is very intricate sometimes involves putting up to 5000 stitches by hand. 

The history of Kasuti dates back to the Chalukya period.  The name Kasuti is derived from the words Kai (hand) and Suti (cotton), indicating an activity that is done using cotton and hand."

D #Saris_A2Z

#Saris_A2Z next features saris with alphabet 'D'. 

The centuries-old Dhakai Jamdani weaving tradition which originated in Dhaka, Bangladesh is today carried forward in West Bengal as well. These are feather-light and sheer saris, with fine motifs woven all over the body giving it a luxurious and grand finish. The Dhakai Jamdani was originally woven on Muslin. The weave is done in a way that feels like the motifs are embroidered on the base fabric. The most distinctive feature of the Dhakai Jamdani is the use of geometry in its motifs. The traditional art of weaving dhakai has been declared by UNESCO as a Intangible Cultural Heritage of Humanity.

A Dharmavaram often referred to as 'a daily wear kanjeevaram' is very similar to a kanjivaram. A Dharmavaram is made using tested ‘zari’ hence the lower cost. Dharmavaram Saris  are woven in the interlocked-weft technique. The design required on the sari is initially drawn on computer and then punched into a card. These cards are then loaded in Jacard in the loom. First the yarn is loaded as warp and then loaded into the loom. The weavers use both their hands and legs to weave the Sari.  It requires approximately 4-8 days of continuous efforts of two persons for weaving a sari depending on the variety of the sari being weaved. The specialty of being woven in two colors that give an effect of muted double shades accentuated by the solid color border and pallu is the distinct feature of a dharmavaram. 

 This is a jewel! Here is a lovely girl wearing her grandma's 53 year old Dharmavaram sari bought in Mysore in 1962 for Rs 242. The pallu is super-exquisite and very rare and unique for that time..notice the sheen is so well preserved! Sending a magnification of the arty pallu motif too. 

The name Dhokra  was initially used to indicate a group of nomadic craftsmen.  Dhokra, known as “Bharai kaam”, is the art of sculpting brass with the ancient technique of lost wax casting. The tribals of Madhya Pradesh are famous for their imaginative and creative dhokra. Unfortunately I am unable to dig more info on this type of saris. Pictures galore on online sari sites, minus any input relevant for this post. 

In Dhaniakhali block every household has at least one loom. The sari produced here is named after the place. The material for the Dhaniakhali sari is somewhat coarse and heavier than other textiles from Bengal but suits the middle class budget and as such is popular. An ordinary Dhaniakhali sari takes a minimum of two days to be woven, and the most exotic ones take four to five days to weave.  

C #Saris_A2Z

#Saris_A2Z Jayshri bought this 'Raw Mango' sari from an exhibition in Singapore. She was kind enough to lend it for the photoshoot..

The backdrop is a beautiful blue shop house on Petian road. Every time I cross this shophouse, mere andar ka photographer jag uthta hai😀😀

For letter 'C' featuring one of my favorites a Chanderi..

A bit of gyan as per wiki..

"According to mythology or the vedic period it was said that chanderi was founded by lord krishana's cousin Shisupal. The famous weaving culture started during the 2nd century and 7th century. 

The chanderi saris are produced from three kinds of fabric i.e. pure silk,chanderi cotton and silk cotton. Traditional coin, Flora art, Peacocks and geometrices are woven into different chanderi patterns."

Personally I love the elegance and panache this sari lends to the wearer. A must have in your wardrobe..

#iluvsaris @DemureDrapes

Anju Bansal shares..

The present form of chikan (meaning elegant patterns on fabric) work is associated with the city of Lucknow, in Uttar Pradesh. Chikan embroidery on silk is Lucknow's own innovation. The other chikan styles are that of Calcutta and Dacca. However, characteristic forms of stitch were developed in Lucknow: phanda and murri.

Chikan embroidery is believed to have been introduced by Nur Jahan, the wife of Jahangir. Chikan embroidery involves the use of white thread on white muslin (tanzeb), fine cotton (mulmul), or voile, fine almost sheer fabrics which showcases shadow work embroidery the best. Other colours can also be used.

The artisans usually create individual motifs or butis of animals and flowers (rose, lotus, jasmine, creepers). The designs are first printed onto the fabric not with chaulk, but with a mixture of glue and indigo.

At least 40 different stitches are documented, of which about 30 are still practiced today and include flat, raised and embossed stitches, and the open trellis-like jaali work. Some of the stitches that are used in Chikankari work include: taipchi, pechni, pashni, bakhia (ulta bakhia and sidhi bakhia), gitti, jangira, murri, phanda, jaalis etc. In English: chain stitch, buttonhole stitch, French knots and running stitch, shadow work. Another is the khatao, 

Jewels By Rakhi sends this picture in a Chikankari. It's a beautiful yellow georgette she has picked from Colors boutique in Singapore..

#Saris_A2Z Beena  from Hyderabad sends these pictures and writes..

"I want to add my bit. A sari  type famous in our state. Chirala sari, starting with letter C, both silk and cotton. Chirala is a small place in Andhra Pradesh famous for its textile industry. There are over 25000 looms here weaving saris"